Blackbird Blackbird Blackberry movie review… | Little White Lies

Black­bird Black­bird Black­ber­ry review – a per­fect lead performance

01 May 2024 / Released: 03 May 2024

A person in a black vest and underwear sits on the floor next to cardboard boxes, surrounded by various household items.
A person in a black vest and underwear sits on the floor next to cardboard boxes, surrounded by various household items.
3

Anticipation.

Plaudits accrued on its long and winding journey through the global festival circuit.

4

Enjoyment.

Naveriani is a natural filmmaker, and she’s gifted with a perfect lead performance for the material.

4

In Retrospect.

This will likely be a fair few people’s low-key fave of 2024.

A hap­pi­ly sin­gle Geor­gian woman is forced to recon­sid­er her life of soli­tude when she falls in love in Elene Nave­ri­an­i’s bit­ter­sweet roman­tic dramedy.

Elene Naveriani’s delight­ful, eccen­tri­cal­ly-titled Black­bird Black­bird Black­ber­ry offers a cel­e­bra­tion of the fact that we are all mas­ters of our own des­tiny, even when ham­pered by fear, self-loathing and even an arro­gant belief that a deci­sion made in the past shall for­ev­er strand in the change­able present.

Eka Chavleishvili stars as Etero, a cur­mud­geon­ly gro­cery shop own­er and a sad-sack rock of the local com­mu­ni­ty, who due to a near-death expe­ri­ence while black­ber­ry pick­ing, sud­den­ly decides to neglect her 40-plus year stretch of mil­i­tant­ly self-imposed sex­u­al absti­nence and engage in a secret affair with her long-time deliv­ery guy. Once the day has been well and tru­ly seized (on the floor of the store cup­board, no less) Etero must inter­act with friends and fam­i­ly in a way where her sud­den, enlight­ened change of lifestyle remains hid­den from all.

For some­one whose per­son­al­i­ty is defined by a sense of sto­icism and prac­ti­cal­i­ty, that’s not too dif­fi­cult to uphold. But, the encoun­ters and dates with her new lover bring with them all man­ner of hereto­fore untapped anx­i­eties. The film is beau­ti­ful­ly staged and exe­cut­ed, main­tain­ing well-defined emo­tion­al con­tours and nev­er allow­ing things to descend into main­stream sen­ti­men­tal­ism. Hope­ful­ly when the inevitable Amer­i­can remake comes along they don’t crud it up too badly.

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